ALICIA De LARROCHA Pianist

Total Page：16

File Type：pdf, Size：1020Kb

ALICIA de LARROCHA Pianist TUESDAY EVENING, JULY 8, 1969, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Italian Concerto J. S. BACH Allegro Andante Presto Sonata in A-flat major, Op. 110 BEETHOVEN Moderato cantabile molto espressivo Allegro molto Adagio rna non troppo Fuga. Allegro rna non troppo INTERMISSION Three Spanish Songs and Dances CARLOS SURINACH Cuatro piezas espafiolas MANUEL DE FALLA Aragonesa Cubana Montanesa Andaluza Fantasia Betica MANUEL DE FALLA Steinway Piano C olllmbia Rec ords First Concert Sixth Annual Summer Concert Series Complete Programs 3655 1969-INTERNATION A L PRESENTATIONS-1970 LEONARD PE lNARIO, renowned American pianist, will present the following program Thursday, J uly 17, at 8:30---the second concert of the Summer Series: Sonata in E-fiat major . HAYDN Three Preludes . DEBUSSY Sonata No. 6, Op. 82 PROKOFIEFF Fantasiestiicke, Op. 12 . SCHUMANN Scherzo No. 2 in D-fiat, Op. 31 CHOPIN Choral Union Series Hill Auditorium NEW YORK PHILHARMONIC . 2: 30, Sunday, September 21 SEI]I OZAWA, C01lductillg ANDRE WATTS , Pia1list (Rachmaninoff Concerto No.3) MISHA DICHTER, Pianist Monday, October 6 ORCHESTRA OF L'ACCADEMIA DI SANTA CECILIA, Rome . Thursday, October 23 FERNANDO PREVITALI, COllductillg ROYAL CHORAL SOCIETY AND PLAYERS . Tuesday, November 4 OSIPOV BALALAIKA ORCHESTRA (with stars of the Bolshoi Opera and Russian Dancers) . Thursday, November 13 NHK SYMPHONY ORCHESTRA, JAPAN Tuesday, November 25 HIROYUKI IW AKI, Conducting JOAN SUTHERLAND, Soprano, with RICHARD BONYNGE, Pianist Friday, January 30 VLADIMIR ASHKENAZY, Pianist . Monday, February 9 "BARBER OF SEVILLE" (Rossini)- Canadian Opera Company . Saturday, February 14 ANDRES SEGOVIA, Classical Guitarist Thursday, February 19 Season Tickets: $3 5.00-$30.00-$2 5.00-$20.00-$15.00 Dance Series Hill Auditorium NATIONAL BALLET OF CANADA Friday, October 17 *JOSE LIMON DANCE COMPANY Saturday, November 1 *NIKOLAIS DANCE COMPANY. Wednesday, January 21 DANZAS VENEZUELA Tuesday, February 17 ROYAL WINNIPEG BALLET . 2 :30, Sunday, March 15 * For these two modern Dance Companies, Lecture-demonstrations will be scheduled and announced at a later date. Season ticket subscribers to the Dance Series will receive complimentary admission. Seasoll Tickets: $17 .50---$ 15.00- $12.50-$10.00 Chamber Art Series Rackham Auditorium MADRIGAL, from Bucharest . Sunday, October 12 MARIN CONSTANTIN , Conducto r PRAGUE CHAMBER ORCHESTRA Monday, November 10 FRANCO GULLI, Violinist, and ENRICA CAVALLO, Pianist (duo from Italy) Monday, November 17 NEW YORK PRO MUSICA . Monday, January 12 MUSIC FROM MARLBORO . Wednesday, January 28 JEAN-PIERRE RAMPAL, Flut e, and ROBERT VEYRON-LACROIX, Keyboard Thursday, February 5 PHAKAVALI DANCERS, from Bangkok Monday, March 2 Season Tickets: $2 5.00---$2 0.00---$12.00 Orders for single performances (all 3 series) will be accepted beginning August 15. Counter sale begins September 10. UNIVERSITY MUSICAL SOCIETY BU RTON MEMORIAL TOWER, ANN ARBOR, MICHIGAN 48104 .

Copy Link

Recommended publications

Otros Instrumento Cuerda Códigos EN 04-21
Price List 2021 Lute Bandurria Cuatro Timple Ukulele (April) Lute Top (460x180x4 mm)x2Back (460x180x4 mm)x2Side (700x100x3,5 mm) x2 Fingerboard 420x75x9 mm Euro. Spruce 304 5,40 € Curly Maple 469 30,20 € Curly Maple 397 22,00 € African Ebony FSC 100% 8295 12,40 € Canad. Cedar 754 6,10 € *Cocobolo 6942 34,50 € *Cocobolo 6944 24,80 € African Ebony 1279 10,50 € Engel. Spruce 331 4,00 € Exotic Ebony 8613 34,50 € Exotic Ebony 8614 24,80 € Defective African Ebony Walnut 2707 18,90 € Walnut 2692 15,30 € 420x66x9mm 1281 0,70 € Santos Rosewood 8346 26,80 € Santos Rosewood 8350 19,60 € * Indian Rosewood 3290 4,50 € * Indian Rosewood 3346 38,80 € *Indian Rosewood 3228 27,60 € Neck 580x75x22 mm * Madagascar Ros. 3083 34,50 € *Madagascar Ros. 3040 24,80 € *Mahogany 8674 12,40 € Sapele 4357 13,00 € Sapele 4338 10,50 € * Mahogany FSC 100% 9807 14,90 € Sycamore 4382 13,00 € Sycamore 7430 10,50 € African Mahogany 8676 6,90 € Ziricote 8216 52,00 € Ziricote 8218 35,90 € * Honduras Cedar 8675 8,00 € Finished Neck Scale:500 * Af. Mahogany + Mex. Gran. 11204 69,00 € Bandurria * Cedar + St. Rosw. Headplate 11206 73,00 € Top (400x160x4 mm)x2 Back (400x160x4 mm)x2 Side (550x100x3,5mm)x2 Fingerboard 420x66x9 mm Euro. Spruce 302 5,90 € Curly Maple 470 23,30 € Curly Maple 398 19,60 € African Ebony FSC 100% 7571 10,60 € Canad. Cedar 756 5,50 € *Cocobolo 6943 29,40 € *Cocobolo 6945 22,00 € African Ebony 1235 4,80 € Engel. Spruce 6767 3,40 € Exotic Ebony 8615 29,40 € Exotic Ebony 8616 22,00 € Defective African Ebony Walnut 6946 17,20 € Walnut 6947 14,20 € 420x66x9mm 1281 0,70 € Santos Rosewood 8347 20,70 € Santos Rosewood 8351 17,20 € * Indian Rosewood 3263 4,00 € * Indian Rosewood 3347 33,80 € * Indian Rosewood 3230 26,00 € Neck 450x75x22 mm * Madagascar Ros.
[Show full text]
Jíbaro Music of Puerto Rico) a Smithsonian Folkways Lesson Designed By: Bethany Grant-Rodriguez University of Washington
Jíbaro Hasta el Hueso: Jíbaro to the Bone (Jíbaro music of Puerto Rico) A Smithsonian Folkways Lesson Designed by: Bethany Grant-Rodriguez University of Washington Summary: This unit focuses on the jíbaro music of Puerto Rico. Students will learn to identify the characteristic instruments, rhythms, and sound of jíbaro music, as well as appreciate the improvisatory skills of the poet/singers known as trovatores. Students will listen, perform, analyze, and create original verses using a common jíbaro poetic structure (the seis). This unit will also highlight important theme of social justice, which is often the topic of jíbaro songs. Suggested Grade Levels: 3–5 or 6–8 Country: USA (unincorporated) Region: Puerto Rico Culture Group: Puerto Ricans (Boricuas) Genre: Jíbaro Instruments: Voice, body percussion, bongos, guiros, xylophones, guitar/piano (optional addition for harmonic support for grades 3–5) Language: Spanish Co-Curricular Areas: Social studies, language arts National Standards: 2, 3, 4, 6, 9 Prerequisites: Basic familiarity with how to play xylophones, familiarity with instrument timbres, ability to keep a steady beat in a group music setting, some experience with reading and writing poetry (knowledge of rhyme scheme and form). Objectives: Listen: Students will recognize and identify the characteristic sound of jíbaro music (6, 9) Play: Students will play classroom percussion instruments to reproduce the harmony and rhythms of jíbaro music (2) Compose: Students will compose original verses to create their very own seis (4) *Improvise: Students will vocally improvise a melody for their original verse in the jíbaro style (like the Puerto Rican trovatores) (3) *This objective is for more confident and advanced musicians.
[Show full text]
Rippling Notes” to the Federal Way Performing Arts & Event Center Sunday, September 17 at 3:00 Pm
FOR IMMEDIATE RELEASE MEDIA CONTACT August 23, 2017 Scott Abts Marketing Coordinator [email protected] DOWNLOAD IMAGES & VIDEO HERE 253-835-7022 MASTSER TIMPLE MUSICIAN GERMÁN LÓPEZ BRINGS “RIPPLING NOTES” TO THE FEDERAL WAY PERFORMING ARTS & EVENT CENTER SUNDAY, SEPTEMBER 17 AT 3:00 PM The Performing Arts & Event Center of Federal Way welcomes Germán (Pronounced: Herman) López, Sunday, September 17 at 3:00 PM. On stage with guitarist Antonio Toledo, Germán harnesses the grit of Spanish flamenco, the structure of West African rhythms, the flourishing spirit of jazz, and an innovative 21st century approach to performing “island music.” His principal instrument is one of the grandfathers of the ‘ukelele’, and part of the same instrumental family that includes the cavaquinho, the cuatro and the charango. Germán López’s music has been praised for “entrancing” performances of “delicately rippling notes” (Huffington Post), notes that flow from musical traditions uniting Spain, Africa, and the New World. The “timple” is a diminutive 5 stringed instrument intrinsic to music of the Canary Islands. Of all the hypotheses that exist about the origin of the “timple”, the most widely accepted is that it descends from the European baroque guitar, smaller than the classical guitar, and with five strings. Tickets for Germán López are on sale now at www.fwpaec.org or by calling 2535-835-7010. The Performing Arts and Event Center is located at 31510 Pete von Reichbauer Way South, Federal Way, WA 98003. We’ll see you at the show! About the PAEC The Performing Arts & Event Center opened August of 2017 as the South King County premier center for entertainment in the region.
[Show full text]
Classical Guitar at Sundin Hall in St. Paul!
A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414 NOVEMBER/DECEMBER 2008 VOL. 24 NO. 6 Classical Guitar at Sundin Hall in St. Paul! Saturday, Nov 15th, 8 pm Classical guitarist Pable Sainz Villegas from Spain Saturday, Dec 6th, 8 pm The acclaimed Minneapolis Guitar Quartet Local Artists Series concert at Banﬁll-Locke Center for the Arts Sunday, Nov 9th, 2 pm Classical guitarist Steve Newbrough Also In This Issue Jay Fillmore on Guitar Harmonics review of Sharon Isbin masterclass more News and Notes Minnesota Guitar Society Board of Directors Newsletter EDITOR OFFICERS: BOARD MEMBERS: Paul Hintz PRESIDENT Joe Haus Christopher Becknell PRODUCTION Mark Bussey VICE-PRESIDENT Joanne Backer i draw the line, inc. Steve Kakos ARTISTIC DIRECTOR Joe Hagedorn David’s Print Shop Steven Newbrough DISTRIBUTION TREASURER Jim Campbell Christopher Olson Todd Tipton Mark Bussey MANAGING DIRECTOR Paul Hintz Todd Tipton Web Site Production SECRETARY Alan Norton Brent Weaver Amy Lytton <http://www.mnguitar.org> Minnesota Guitar Society The Minnesota Guitar Society concert season is co-sponsored by Mission Statement Sundin Hall. This activity is made To promote the guitar, in all its stylistic and cultural diversity, possible in part by a grant from the through our newsletter and through our sponsorship of Minnesota State Arts Board, through an appropriation by the Minnesota public forums, concerts, and workshops. State Legislature and a grant from To commission new music and to aid in its the National Endowment for the promotion, publication, and recording. Arts. Matching funds have been To serve as an educational and social link between amateur provided by General Mills, AT&T, and Ameriprise Financial.
[Show full text]
HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc.
[Show full text]
José Gabriel Muñoz Interview Transcript
Raíces Digital Archive Oral History Transcript José Gabriel Muñoz - Cuatrista October 20, 2019 [0:11] José Gabriel Muñoz: My name is José Gabriel Muñoz and I play the Puerto Rican cuatro. It’s used mostly for the folkloric music of Puerto Rico. [0:20] I grew up listening to the music in my household. My dad would always play the music. I was born in Puerto Rico so I had those roots of the music and the culture was always in my family. And my dad would always play the music so growing up, I was always listening to it, it was always basically a part of me. [41:00] But when I was about fourteen years old I saw someone play it in front of me for the ﬁrst time, and it happened to be a young man, my same age, about fourteen-thirteen, fourteen, at the time, and that’s when it became palpable and real to me. Up until then it was listening to eight-tracks and cassettes, you know, the old guard of the music, as I would call it. [1:03] And so, many young people, as myself at the time, would interpret that as just music for old people, music of my grandfathers, of my older uncles and such. It wasn’t the here and now, hip type music. Up until I watched this young man play, right in front of me, and it became alive to me, and from that moment on is where the interest grew. [1:32] Nicole Wines: Can you talk a little bit about the instrument itself? [1:38] JGM: The instrument comes from the lute family, it is my understanding.
[Show full text]
Los Bomberos De La Calle Activity Guide
LOS BOMBEROS DE LA CALLE A Guide on Puerto Rican Bomba & Plena from the #MannMusicRoom ABOUT COLOR ME IN! Los Bomberos De la Calle is a Puerto Rican Bomba and Plena group from North Philadelphia. They have grown into a family who spreads the knowledge and cultural music of Puerto Rico through educational performances at community events, schools, and workshops. They focus on interactive history lessons of Bomba & Plena as well as class engagement through understanding of the percussion, dance and song for all youth and families. The aim of their performances is to provide a greater understanding of the history and culture of Puerto Rico. WHERE IS PUERTO RICO? Puerto Rico is an island located in the Caribbean Sea. Its landscape includes mountains, waterfalls, and tropical rain forests. The capital of Puerto Rico is San Juan which is also its largest city. The two official languages of Puerto Rico are Spanish and English. INSTRUMENTATION Some of the instruments used in traditional Puerto Rican music are the güicharo, or guiro, a notched hollowed-out gourd, which was adapted from pre-Columbian days. At least four different instruments were adapted from the six-string Spanish classical guitar: the requinto, the bordonua, the cuatro, a guitar-like instrument with 10 strings (arranged in five different pairs), and the triple, each of which produces a unique tone and pitch. The cuatro’s graceful body has been revered for decades as the national instrument of Puerto Rico. Also prevalent are percussion instruments such as tambours (hollowed tree trunks covered with THE PUERTO RICAN stretched-out animal skin), maracas (gourds filled CUATRO with pebbles or dried beans and mounted on handles), and a variety of drums.
[Show full text]
Jíbaro a Smithsonian Folkways Lesson Designed By: Sandra Sanchez University of Miami
Jíbaro A Smithsonian Folkways Lesson Designed by: Sandra Sanchez University of Miami Summary: Puerto Rican culture is a representation of the diverse heritages of three cultural groups: Taíno Indians, Africans, and Spaniards. This lesson focuses on the Spanish influences found in Puerto Rico’s musical culture by studying jíbaro music. Suggested Grade Level: Grades 3-5, 6-8 Country: Puerto Rico Region: Caribbean Culture Groups: Puerto Rican, Spanish Genre: Instruments: Cuatro, Orff Instruments, Güiro Language: Spanish Co-curricular Areas: Language Arts, Social Studies National Standards: 1, 2, 3, 4, 6, 7, 8, 9 Prerequisites: Students should have had some experience using Orff instruments. Objectives • Students will be able to create lyrics using an assigned rhyming structure. • Students will be able to create rhythms to the lyrics of a décima. • Students will be able to improvise a melody with a given rhythm on an Orff instrument. • Students will be able to sing the response section to a call-and-response song. Materials 1. Mohr, Nicholasa and Antonio Martorell. 1995. The song of el coquí and other tales of Puerto Rico. New York: Viking. 2. Orff Instruments 3. Güiro and pua (güiro stick) 4. Musica del Pueblo Website: http://www.musicadelpueblo.org/ 5. Smithsonian Folkways, “Y amo la libertad (And I Love Freedom)” by Ecos de Borinquen from Jíbaro Hasta el Hueso: Mountain Music of Puerto Rico: http://www.folkways.si.edu/ecos-de-borinquen/jibaro-hasta-el-hueso-mountain- music-of-puerto-rico/latin-world/album/smithsonian 6. Smithsonian Folkways, “Seis Salinés” by Cuerdas de Borínquen from Puerto Rico in Washington: http://www.folkways.si.edu/puerto-rico-in-washington/caribbean-latin- world/music/album/smithsonian Lesson Segments 1.
[Show full text]
Lute Tuning and Temperament in the Sixteenth and Seventeenth Centuries
LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH CENTURIES BY ADAM WEAD Submitted to the faculty of the Jacobs School of Music in partial fulﬁllment of the requirements for the degree, Doctor of Music, Indiana University August, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulﬁllment of the requirements for the degree Doctor of Music. Nigel North, Research Director & Chair Stanley Ritchie Ayana Smith Elisabeth Wright ii Contents Acknowledgments . v Introduction . 1 1 Tuning and Temperament 5 1.1 The Greeks’ Debate . 7 1.2 Temperament . 14 1.2.1 Regular Meantone and Irregular Temperaments . 16 1.2.2 Equal Division . 19 1.2.3 Equal Temperament . 25 1.3 Describing Temperaments . 29 2 Lute Fretting Systems 32 2.1 Pythagorean Tunings for Lute . 33 2.2 Gerle’s Fretting Instructions . 37 2.3 John Dowland’s Fretting Instructions . 46 2.4 Ganassi’s Regola Rubertina .......................... 53 2.4.1 Ganassi’s Non-Pythagorean Frets . 55 2.5 Spanish Vihuela Sources . 61 iii 2.6 Sources of Equal Fretting . 67 2.7 Summary . 71 3 Modern Lute Fretting 74 3.1 The Lute in Ensembles . 76 3.2 The Theorbo . 83 3.2.1 Solutions Utilizing Re-entrant Tuning . 86 3.2.2 Tastini . 89 3.2.3 Other Solutions . 95 3.3 Meantone Fretting in Tablature Sources . 98 4 Summary of Solutions 105 4.1 Frets with Fixed Semitones . 106 4.2 Enharmonic Fretting . 110 4.3 Playing with Ensembles . 113 4.4 Conclusion . 118 A Complete Fretting Diagrams 121 B Fret Placement Guide 124 C Calculations 127 C.1 Hans Gerle .
[Show full text]
Bluegrass Banjo Gdgbd Jazz Tuning Chord Bible.Indd
DEM DEMO D DEMO DEMO DEMO D O DEM DEMO EMO D DEMO MO DEM DEMO DEMO DEMO D DEM C Chords 12 E Chords (Advanced) 40 Major Slash Chords 87 A Selection of Moveable Chord Shapes 90 THE BLUEGRASS BANJO CHORD BIBLE CONTENTS AND ORDERING INFO The only Bluegrass Banjo chord dictionary you’ll ever need...or find!? Read on: The Bluegrass Banjo Chord Bible is the most extensive reference guide currently available for this popular instrument, featuring some 2,160 chord shapes. These are divided up into 68 different chord types in all 12 keys. The format is uncomplicated, suiting both seasoned professionals and beginners alike. For the experienced musician, the book is filled with a comprehensive selection of hard to find chords.To accompany the chords, Tobe A. Richards has included a comprehensive explanation of chord contruction and general information on tuning the plectrum banjo, together with useful fretboard and reference diagrams. Each chord box or window includes info on which finger to use, where to place them on the fretboard and the harmonic interval for each string. Standard (g)DGBD Bluegrass tuning is featured throughout, which will suit both bluegrass and general popular music enthusiasts, making the Bluegrass Banjo as accessible an instrument as the guitar. For simplicity of use, The Bluegrass Banjo Chord Bible is bound in easy-turn wire bound format and will lie flat, whether opened as an A3 spread or folded back on any page in A4 format. Content Details: • 2,160 different chords in all 12 keys • Details of harmonic intervals with every chord box • 144 Major slash chords in all keys and 726 possible moveable chord shapes • (g)DGBD Standard tuning • Chords utilising open string configurations • Suggested fingering positions • Banjo family factfile and tunings guide • Alternative chord name chart • Fretboard & tuning diagrams • Information on chord construction • General advice • Published by Cabot Books as part of the Fretted Friends series of musical guide books.
[Show full text]
About the Puerto Rican Arts Alliance (PRAA)
_________________________________________________________________________________ 3000 N. Elbridge Ave., Chicago, IL 60618 - 773-342-8865 - praachicago.org - facebook.com/PuertoRicanArtsAlliance About the Puerto Rican Arts Alliance (PRAA) The Puerto Rican Arts Alliance (PRAA) is dedicated to preserving culture by maintaining traditions, promoting the arts, providing educational opportunities, and cultivating pride in heritage for future generations. The organization works toward this mission through separate - but interconnected - program areas and activities that include school-based programs, workshops, community outreach, and exhibitions. The organization has more than 20 years of experience working within the community, specifically with youth. PRAA offers unique programs that increase knowledge, impact identity, and inspire creativity. Through programs at three community locations -- Humboldt Park Field House, PRAA Center and the Latin Music Project Center – PRAA serves a diverse audience of 30,000 individuals each year. About the Latin Music Project The Latin Music Project (LMP) is an afterschool program offering classes in cuatro, guitar, violin, ensemble performance and Latin music fundamentals. Classes are offered for children/youth from all backgrounds, aged 4-18 years. Participants will learn how to read music, how to play traditional Latin American songs and how to perform as a group. Classes are held at the Latin Music Project Center (2958 N Milwaukee Ave, Chicago). Advanced students may audition to join PRAA's Latin Music Project Ensemble, gaining additional experience performing at community events and practicing once per week year-round. 2020-2021 Program Dates: Fall Classes September 28 – December 16, 2020 Fall Final Concert Thursday, December 17, 2020, 6-8pm Spring Classes February 1 – April 26, 2021 Spring Final Concert Thursday, April 37, 2021, 6-8pm No classes are held when CPS is closed.
[Show full text]
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls.
[Show full text]